T H E P Ro G

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Friday and Saturday Evenings, August 1 4–15, 2015, at 6:30 m

a Pre-concert Recital r Clarinet g Jon Manasse ,

o Ilya Finkelshteyn , Cello r Jon Nakamatsu , Piano P

e BRAHMS Clarinet Trio in A minor (1891)

h Allegro Adagio T Andante grazioso Allegro

Please make certain all your electronic devices are switched off.

This performance is made possible in part by the Josie Robertson Fund for Lincoln Center.

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Mostly Mozart Festival I Notes on the Program

By Don Anderson

m Clarinet Trio in A minor, Op. 114 (1891)

a JOHANNES BRAHMS r Born May 7, 1833, in Hamburg, Germany

g Died April 3, 1897, in Vienna o

r Approximate length: 26 minutes P

In December 1890 Brahms wrote to his publisher that he had “firmly decided” to stop composing. Fortunately, this was not destined to be the e case. The spark that burned away his resolve came from Richard Mühlfeld, h the principal clarinetist in the Court Orchestra of Meiningen, Germany. t

Brahms visited the city in March 1891 and was struck by the beauty, pol - ish, and sensitivity of Mühlfeld’s playing. “You have never heard such a clar - n inet player,” he wrote to his close friend Clara Schumann. “He is absolutely o the best I know.”

s Brahms listened to Mühlfeld practicing for hours, and the two held exten - e sive discussions about the clarinet’s character and capabilities. Brahms t then set to work. That summer he created in rapid succession the Trio in A o minor for clarinet, cello, and piano, as well as a quintet for clarinet and strings. Two sonatas for clarinet and piano—his final chamber works— N followed in 1894. Mellow in sound and regretful in mood, these works movingly present the thoughts and feelings of the aging composer.

Brahms’s choice of instruments for the Trio in A minor was particularly insightful, the cello being as adept as the clarinet at conjuring an autumnal mood. The first movement unfolds with unhurried gentleness, dotted with the occasional outburst of more dramatic feeling. The second movement offers virtually unclouded sweetness, even when the tempo at times quick - ens slightly. A gracefully flowing Andante grazioso follows, then a com- pact finale whose urgency never grows so potent that it betrays the trio’s poetic mood.

Friday and Saturday Evenings, August 1 4–15, 2015, at 7:30 m a

r Mostly Mozart Festival Orchestra g Cristian M a˘celaru , Conductor M|M o Lars Vogt , Piano r P

MOZART Symphony No. 39 in E-flat major, K.543 (1788)

e Adagio—Allegro Andante con moto h Menuetto: Allegro

T Finale: Allegro

Intermission

BEETHOVEN Piano Concerto No. 4 in G major, Op. 58 (1804–07) Allegro moderato Andante con moto Rondo: Vivace Mr. Vogt will perform Beethoven’s cadenzas.

M|M Mostly Mozart debut

Please make certain all your electronic devices are switched off.

This performance is made possible in part by the Josie Robertson Fund for Lincoln Center.

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Mostly Mozart Festival

The Mostly Mozart Festival is made possible by Sarah Billinghurst Solomon and Howard Solomon, Rita E. and Gustave M. Hauser, Chris and Bruce Crawford, The Fan Fox and Leslie R. Samuels Foundation, Inc., Charles E. Culpeper Foundation, S.H. and Helen R. Scheuer Family Foundation, and Friends of Mostly Mozart. Public support is provided by the New York State Council on the Arts. Artist Catering provided by Zabar’s and zabars.com MetLife is the National Sponsor of Lincoln Center United Airlines is a Supporter of Lincoln Center WABC-TV is a Supporter of Lincoln Center “Summer at Lincoln Center” is supported by Diet Pepsi Time Out New York is a Media Partner of Summer at Lincoln Center

UPCOMING MOSTLY MOZART FESTIVAL EVENTS:

Sunday Evening, August 16, at 5:00 in Alice Tully Hall Into the Little Hill (opera in concert) International Contemporary Ensemble George Benjamin , Conductor M|M Pierre-Laurent Aimard , Piano Hila Plitmann , Soprano M|M Susan Bickley , Mezzo-Soprano M|M MESSIAEN: Oiseaux exotiques LIGETI: Piano Concerto GEORGE BENJAMIN: Into the Little Hill

Monday Night, August 17, at 10:00 in the Stanley H. Kaplan Penthouse Pierre-Laurent Aimard , Piano Six preludes by D’ANGLEBERT, MOZART, BACH, CHOPIN, DEBUSSY , and SCRIABIN Six canons by SCHUMANN, BRAHMS, BACH, WEBERN, BOULEZ , and LIGETI GEORGE BENJAMIN: Shadowlines

Tuesday and Wednesday Evenings, August 18–19, at 7:30 in Avery Fisher Hall Mostly Mozart Festival Orchestra Andrew Manze , Conductor Joshua Bell , Violin and Leader MOZART: Adagio and Fugue in C minor BACH: Violin Concerto in E major BACH/MENDELSSOHN: Chaconne SCHUMANN: Symphony No. 2 Pre-concert recitals with Tyler Duncan, baritone, and Erika Switzer, piano, at 6:30

M|M Mostly Mozart debut

For tickets, call (212) 721-6500 or visit MostlyMozart.org. Call the Lincoln Center Info Request Line at (212) 875-5766 to learn about program cancellations or request a Mostly Mozart brochure.

Visit MostlyMozart.org for full festival listings.

Join the conversation: #LCMozart

We would like to remind you that the sound of coughing and rustling paper might distract the performers and your fellow audience members. In consideration of the performing artists and members of the audience, those who must leave before the end of the performance are asked to do so between pieces. The taking of pho - tographs and the use of recording equipment are not allowed in the building. 08-14 Macelaru_GP2 copy 7/31/15 8:55 AM Page 5

Mostly Mozart Festival

Welcome to Mostly Mozart

I am pleased to welcome you to the 49th Mostly Mozart Festival, our annual celebration of the innovative and inspiring spirit of our namesake composer. This summer, in addition to a stellar roster of guest conductors and soloists, we are joined by composer-in-residence George Benjamin, a leading contem - porary voice whose celebrated opera Written on Skin receives its U.S. stage premiere. This landmark event is the first in a series of staged opera works to be presented in a new partnership with the New York Philharmonic.

Written on Skin continues our tradition of hearing Mozart afresh in the context of the great music of our time. Under the inspired baton of Renée and Robert Belfer Music Director Louis Langrée, the Mostly Mozart Festival Orchestra delights this year with the Classical repertoire that is its specialty, in addition to Beethoven’s joyous Seventh Symphony and Haydn’s triumphant Creation.

Guest appearances include maestro Cornelius Meister making his New York debut; Edward Gardner, who also leads the Academy of Ancient Music in a Mendelssohn program on period instruments; and Andrew Manze with violin - ist Joshua Bell in an evening of Bach, Mozart, and Schumann. Other preemi - nent soloists include Emanuel Ax, Matthias Goerne, and festival newcomers Sol Gabetta and Alina Ibragimova, who also perform intimate recitals in our expanded Little Night Music series. And don’t miss returning favorite Emerson String Quartet and artists-in-residence the International Contemporary Ensemble, as well as invigorating pre-concert recitals and lectures, a panel dis - cussion, and a film on Haydn.

With so much to choose from, we invite you to make the most of this rich and splendid season. I look forward to seeing you often.

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Mostly Mozart Festival I Words and Music Piano By D.H. Lawrence

Softly, in the dusk, a woman is singing to me; Taking me back down the vista of years, till I see A child sitting under the piano, in the boom of the tingling strings And pressing the small, poised feet of a mother who smiles as she sings. In spite of myself, the insidious mastery of song Betrays me back, till the heart of me weeps to belong To the old Sunday evenings at home, with winter outside And hymns in the cosy parlour, the tinkling piano our guide.

So now it is vain for the singer to burst into clamour With the great black piano appassionato. The glamour Of childish days is upon me, my manhood is cast Down in the flood of remembrance, I weep like a child for the past.

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Mostly Mozart Festival

By Don Anderson t

o Mozart and Beethoven both made profound impacts on the sym -

h phony and the concerto. Mozart’s contributions to these forms

s eclipsed those of Beethoven by sheer number, reflecting an era when composers were expected and willing to produce music in p vast quantities. In his 35 years, compared to Beethoven’s 57, a Mozart created at least four times the number of symphonies

n Beethoven produced and about six times the number of concertos and concerto movements. S

More significantly, Mozart raised the stature of the concerto to a level comparable to that of the symphony. Prior to his time (as well as frequently during and afterwards), a concerto was little more than a flashy display vehicle for the soloist. In such pieces as the Piano Concertos Nos. 20–25 and the sublime Clarinet Concerto, however, Mozart gave the genre greater breadth and deeper sub - stance, and also expanded the contents and the role of the orches - tra. Beethoven carried this process forward. In such works as the poetic Piano Concerto No. 4 and the broad, serene Violin Concerto, he composed masterly works that are not only great concertos but simply great music, regardless of genre.

Mostly Mozart Festival I Notes on the Program

By Don Anderson

m Symphony No. 39 in E-flat major, K.543 (1788)

a WOLFGANG AMADEUS MOZART r Born January 27, 1756, in Salzburg

g Died December 5, 1791, in Vienna o

r Approximate length: 29 minutes P

After a gap of nearly two years, Mozart returned to composing symphonies during the summer of 1788. In the space of three months, he created his three e final and greatest works in this form: Symphonies Nos. 39, 40, and 41. Each of h the three pieces is a masterpiece, and each is quite different from the oth - t

ers. In its drama and pathos, No. 40 in G minor reflects Mozart’s own down - trodden feelings at the time of composition. No. 41 in C major is one of his n grandest and most confident statements; its nature is perfectly characterized o by its nickname, “Jupiter.” Symphony No. 39 is elegant, witty, and superbly

entertaining. The orchestration includes clarinets instead of the oboes that s composers used often during that period, giving the symphony a particularly e mellow sound. t

o Symphony No. 39 is the only one of the final trilogy to begin with an intro - duction in a slow tempo. Mozart followed this practice only occasionally, N in contrast to his friend, Haydn, who used it in the majority of his mature symphonies. The preparatory sec - tion to the work is a shade on the pompous side; perhaps Mozart Did you know? considered it a humorous contrast to the graceful and carefree Allegro In 1787, Mozart said of the that follows. teenaged Beethoven: “Keep your eyes on him; someday The symphony’s playful character he will give the world some - continues in the slow second thing to talk about.” movement, with an added overlay of warmth. Threats presented by occasional turbulent outbursts prove temporary, evaporating quickly in the general atmosphere of good humor. The outer sections of the third move - ment, a Menuetto , are all ballroom stateliness. The central trio, however, belongs squarely to the countryside. Based on a traditional dance tune from Switzerland, its rustic nature is enhanced by the sound of clarinets. The sym - phony concludes with a nimble and witty Finale , evoking images of the world of comic opera that Mozart understood so fully. 08-14 Macelaru_GP2 copy 7/31/15 8:55 AM Page 9

Mostly Mozart Festival I Notes on the Program

Piano Concerto No. 4 in G major, Op. 58 (1804–07) LUDWIG VAN BEETHOVEN Born December 16, 1770, in Bonn, Germany Died March 26, 1827, in Vienna

Approximate length: 34 minutes

Beethoven arrived in Vienna at the end of 1792, intending to finish his musi - cal education there with Haydn before returning to Bonn. Circumstances—his magnificent talents in particular—led him to change those plans. Vienna was destined to remain the center of his activities for the remainder of his life.

Beethoven won fame in Vienna first as a pianist, performing in the city’s fash - ionable salons and concert rooms. He made a name for himself through his bold performing style, which, as with Mozart, included a brilliant knack for improvisation. During this period, he composed solo piano works for his own performance. He revised certain of his existing creations as well, including the Piano Concerto in B-flat major. The piece was his first fully completed work of this kind, and he may have begun it as early as 1788 in Bonn.

Beethoven composed the exceptionally beautiful Concerto No. 4 in the early 1800s. During this astonishingly fertile period, he also produced the Fourth Symphony and the Violin Concerto, pieces that share the piano concerto’s serene nature. As he had done with his three previous piano concertos, he played the first performance himself before an aristocratic audience in the Vienna home of his friend Prince Lobkowitz in March 1807. Listeners responded with only polite applause, and the public debut proved even less successful. It was only when piano soloist Felix Mendelssohn took up the con - certo during the 1830s that it finally began to make its mark.

The piano, rather than the orchestra, has the first word in the piece, and it enters not with crashing chords but with simple, gentle phrases. The effect is magical, establishing the opening movement’s tranquil mood with one telling stroke. The brief second movement has been compared with the mythological character of Orpheus taming the wild beasts with his lyre. The orchestra’s lower strings gruffly begin the conversation, and the piano responds with soothing caresses. The orchestra’s protestations gradually diminish until the soloist delivers such an impassioned plea for conciliation that the orchestra can only meekly capitulate. The concluding, high-spirited Rondo is the most con - ventional part of the con certo, but Beethoven still peppers it with individual touches of humor and instrumental color to ensure it is worthy of the preced - ing movements.

Don Anderson is an internationally recognized advocate of classical music. He has more than 35 years’ professional experience in celebrating it through print, radio, and teaching.

Mostly Mozart Festival I Meet the Artists s t s i t r A

e h A t P O P

N I t R O S e

e Cristian M a˘ celaru

M Winner of the 2014 Sir Georg Solti Conducting Award, Cristian M a˘celaru has established himself as one of the fastest rising stars of the conduct - ing world. He made an unexpected subscription debut with the Philadelphia Orchestra in April 2013 and has since become the conductor-in-residence of the orchestra, conducting the group on four sub - scription programs and also leading a subscription program in 2015–16.

In the coming season, Mr. M a˘celaru will make his New York Philharmonic debut with an all-Rachmaninoff program. He returns to the Chicago and National Symphony Orchestras, the Philadelphia Orchestra, and the Los Angeles Philharmonic. Internationally, he makes debuts with the Deutsches Symphonie-Orchester Berlin, Rotterdam Philharmonic Or- chestra, Royal Scottish National Orchestra, and the RTÉ National, City of Birmingham, Frankfurt Radio, and Tokyo Metropolitan symphony orches - tras. In North America his debut appearances include performances with the Minnesota Orchestra, the National Arts Centre Orchestra, the New World and San Diego Symphonies, and the Atlanta and Cincinnati Symphony Orchestras. In June 2015 Mr. M a˘celaru made his Cincinnati Opera debut with highly acclaimed performances of Il trovatore .

An accomplished violinist from an early age, Mr. M a˘celaru was the youngest concertmaster in the history of the Miami Symphony Orchestra. He completed undergraduate studies in violin performance at the University of Miami and subsequently studied with Larry Rachleff at Rice University, where he received master’s degrees in conducting and violin performance. 08-14 Macelaru_GP2 copy 7/31/15 8:55 AM Page 11

Mostly Mozart Festival I Meet the Artists

Lars Vogt

Lars Vogt has established himself as one of the leading musicians of his generation. His versatility as an artist ranges from the core Classical reper - toire of Mozart, Beethoven, Schu - mann, and Brahms to the Romantic music of Grieg, Tchaikovsky, and Rachmaninoff, to the dazzling Lutosławski Concerto. Mr. Vogt E D

E works with orchestras both as con - O R B ductor and directing from the key - X I L E

F board, and he has recently been appointed music director of the Royal Northern Sinfonia at Sage Gateshead for the 2015–16 season.

During his career, Mr. Vogt has performed with many of the world’s great orchestras, including the London Philharmonic Orchestra; the Staatskappelle Dresden; the Royal Concert gebouw and Paris Orchestras; the Berlin, Vienna, and New York philharmonics; and the London, NHK, and Boston symphony orchestras. He has collaborated with some of the world’s most acclaimed con - ductors, including Simon Rattle, Mariss Jansons, Claudio Abbado, and Andris Nelsons. His special relationship with the Berlin Philharmonic has continued with regular collaborations following his appointment as their first-ever pianist- in-residence in 2003–04.

Highlights of Mr. Vogt’s 2015–16 season include appearances with the London and RSB Berlin Symphony Orchestras as well as with the Paris Orchestra; a recital tour with performances in Paris, Barcelona, and Dresden; performances with the St. Louis Symphony and the Baltimore Symphony Orchestra; and a trio tour with Christian Tetzlaff and Tanja Tetzlaff with performances in San Francisco, Vancouver, New York, Boston, and Toronto.

As an EMI recording artist, Mr. Vogt has recorded 15 discs for the label, includ - ing Hindemith’s Kammermusik No. 2 with the Berlin Philharmonic and Claudio Abbado, as well as the Schumann, Grieg, and first two Beethoven concertos with the City of Birmingham Symphony Orchestra and Simon Rattle. Recent recordings include solo works of Schubert for Cavi-Music; Mozart concertos with the Mozarteum Orchestra Salzburg for OehmsClassics; a solo Liszt and Schumann disc on the Berlin Classics label; and the three Brahms trios with Christian Tetzlaff and Tanja Tetzlaff for Ondine Records. 08-14 Macelaru_GP2 copy 7/31/15 8:55 AM Page 12

Mostly Mozart Festival I Meet the Artists

Jon Manasse

Clarinetist Jon Manasse has performed to international acclaim as a soloist with such orchestras as the Academy of St. Martin in the Fields, the Seattle Symphony, and the Baltimore and Indianapolis Symphony Orchestras, and in musical centers worldwide. Mr. Manasse tours with pianist Jon Nakamatsu as the Manasse/Nakamatsu Duo, whose Harmonia Mundi recording of Brahms’s clarinet sonatas was selected by the New York Times as one of the best recordings of 2008. In 2012 he released a recording of Brahms’s Quintets, Op. 34 and Op. 115, with the Tokyo String Quartet. He has collaborated with many leading quartets, including the Emerson and American String Quartets and the Ying Quartet. Commissioned and premiered works include pieces by John Novacek, Paquito D’Rivera, Lowell Liebermann, and Gordon Goodwin. Mr. Manasse has served as principal clarinetist of the Metropolitan Opera Orchestra and currently serves as principal for the Mostly Mozart Festival Orchestra, the American Ballet Theatre, and the Orchestra of St. Luke’s. He toured as guest principal clarinetist with the Cleveland Orchestra both at home and abroad on its 2013 European tour. Mr. Manasse is on the faculties of the Eastman School of Music and The Juilliard School, as well as the Conservatory of Music at Lynn University and the Mannes School of Music at the New School. Together with Mr. Nakamatsu, he serves as co –artistic director of the Cape Cod Chamber Music Festival.

Ilya Finkelshteyn

Ilya Finkelshteyn is the principal cellist of the Cincinnati Symphony Orchestra and has performed extensively throughout the U.S., Europe, and Asia as a soloist, recitalist, and chamber musician. As a soloist, he has appeared with such orchestras as the Baltimore, St. Louis, Detroit, and Cincinnati symphony orchestras; the Peninsula Music and Mostly Mozart Festival Orchestras; the Baltimore Chamber Orchestra; and the National Repertory Orchestra. He has claimed top prizes at the Concertino Praga, the WAMSO International Competition, and the Aspen Music Festival Concerto Competition. Mr. Finkelshteyn has collaborated in chamber music with such artists as András Schiff, Hilary Hahn, David Soyer, Richard Goode, Joseph Silverstein, Steven Ansell, Harold Robinson, Vadim Repin, Isidore Cohen, and Lydia Artymiw. He has been featured at the Aspen, Marlboro, and Peninsula music festivals, as well as at the Linton Chamber Music Series. He has recorded on the Sony Label.

Mr. Finkelshteyn was born in Leningrad of the former USSR and began his musical training at the St. Petersburg Conservatory under the tutelage of Sergei Chernyadiev. In the U.S., he studied with Tanya Remenikova at the University of Minnesota and with Harvey Shapiro at The Juilliard School. From 2002 to 2009 he was principal cellist of the Baltimore Symphony Orchestra before joining the Cincinnati Symphony Orchestra, where he holds the Irene & John J. Emery Chair. Mr. Finkelshteyn performs on a cello by Giovanni Grancino, c. 1700. 08-14 Macelaru_GP2 copy 7/31/15 8:55 AM Page 13

Mostly Mozart Festival I Meet the Artists

Jon Nakamatsu

Pianist Jon Nakamatsu draws unanimous praise as a master of the keyboard whose playing combines elegance, clarity, and electrifying power. A native of California, Mr. Nakamatsu rose to international attention in 1997 when he was named Gold Medalist of the Tenth Van Cliburn International Piano Competition, the only American to have achieved this distinction since 1981. He has performed widely in North and South America, Europe, and Asia, col - laborating with such conductors as James Conlon, Marek Janowski, Raymond Leppard, Stanisław Skrowaczewski, Osmo Vänskä, and Hans Vonk. His exten - sive recital tours throughout the U.S. and Europe have included appearances at Lincoln Center, Carnegie Hall, and the Kennedy Center, as well as perfor - mances in Boston, Chicago, Cincinnati, Paris, London, and Milan. He has worked with various chamber ensembles—among them the Brentano, Tokyo, Jupiter, and Cypress string quartets and the Kuss, Prazak, and Ying quartets— and has toured repeatedly with the Berlin Philharmonic Wind Quintet. Together with clarinetist Jon Manasse, Mr. Nakamatsu tours as a member of the Manasse/Nakamatsu Duo. The duo also serves as artistic directors of the esteemed Cape Cod Chamber Music Festival.

Mr. Nakamatsu records exclusively for Harmonia Mundi. His all-Gershwin recording with Jeff Tyzik and the Rochester Philharmonic Orchestra reached number three on Billboard’s classical music charts. Other acclaimed releases include an all-Liszt disc and a 2008 recording with Mr. Nakamatsu of Brahms’s clarinet sonatas that was chosen by the New York Times as one of its top releases of the year. His most recent release is a 2014 solo disc of Schumann’s piano works.

Mostly Mozart Festival

Lincoln Center’s Mostly Mozart Festival—America’s first indoor summer music festival—was launched as an experiment in 1966. Called Midsummer Serenades: A Mozart Festival, its first two seasons were devoted exclusively to the music of Mozart. Now a New York institution, Mostly Mozart continues to broaden its focus to include works by Mozart’s predecessors, contempo - raries, and related successors. In addition to concerts by the Mostly Mozart Festival Orchestra, Mostly Mozart now includes concerts by the world’s outstanding period-instrument ensembles, chamber orchestras and ensem - bles, and acclaimed soloists, as well as opera productions, dance, film, late- night performances, and visual art installations. Contemporary music has become an essential part of the festival, embodied in annual artists-in- residence, including Osvaldo Golijov, John Adams, Kaija Saariaho, Pierre- Laurent Aimard, and the International Contemporary Ensemble. Among the many artists and ensembles who have had long associations with the festival are Joshua Bell, Christian Tetzlaff, Itzhak Perlman, Emanuel Ax, Garrick Ohlsson, Stephen Hough, Osmo Vänskä, the Emerson String Quartet, Freiburg Baroque 08-14 Macelaru_GP2 copy 7/31/15 8:55 AM Page 14

Mostly Mozart Festival I Meet the Artists

Orchestra, Orchestra of the Age of Enlightenment, and the Mark Morris Dance Group.

Mostly Mozart Festival Orchestra

The Mostly Mozart Festival Orchestra is the resident orchestra of the Mostly Mozart Festival, and the only U.S. chamber orchestra dedicated to the music of the Classical period. Louis Langrée has been the Orchestra’s music direc - tor since 2002, and each summer the ensemble’s Avery Fisher Hall home is transformed into an appropriately intimate venue for its performances. Over the years, the Orchestra has toured to such notable festivals and venues as Ravinia, Great Woods, Tanglewood, Bunkamura in Tokyo, and the Kennedy Center. Conductors who made their New York debuts leading the Mostly Mozart Festival Orchestra include Jérémie Rhorer, Edward Gardner, Lionel Bringuier, Yannick Nézet-Séguin, Charles Dutoit, Leonard Slatkin, David Zinman, and Edo de Waart. Mezzo-soprano Cecilia Bartoli, flutist James Galway, soprano Elly Ameling, and pianist Mitsuko Uchida all made their U.S. debuts with the Mostly Mozart Festival Orchestra.

Lincoln Center for the Performing Arts, Inc.

Lincoln Center for the Performing Arts (LCPA) serves three primary roles: presenter of artistic programming, national leader in arts and education and community relations, and manager of the Lincoln Center campus. A presenter of more than 3,000 free and ticketed events, performances, tours, and educa - tional activities annually, LCPA offers 15 programs, series, and festivals, including American Songbook, Great Performers, Lincoln Center Festival, Lincoln Center Out of Doors, Midsummer Night Swing, the Mostly Mozart Festival, and the White Light Festival, as well as the Emmy Award–winning Live From Lincoln Center , which airs nationally on PBS. As manager of the Lincoln Center campus, LCPA provides support and services for the Lincoln Center complex and the 11 resident organizations. In addition, LCPA led a $1.2 billion campus renovation, completed in October 2012. 08-14 Macelaru_GP2 copy 7/31/15 8:55 AM Page 15

Mostly Mozart Festival I Meet the Artists 4 1 0 2

R O L Y A T

R E F I N N E J Mostly Mozart Festival Orchestra Louis Langrée , Renée and Robert Belfer Music Director

Violin I Viola Flute Horn Ruggero Allifranchini, Shmuel Katz, Principal Jasmine Choi, Principal Lawrence DiBello, Concertmaster Danielle Farina Tanya Dusevic Witek Principal Martin Agee Chihiro Fukuda Richard Hagen Robert Chausow Jack Rosenberg Oboe Michael Gillette Jessica Troy Randall Ellis, Principal Trumpet Sophia Kessinger Nick Masterson Neil Balm, Principal Lisa Matricardi Cello Lee Soper Kristina Musser Ilya Finkelshteyn, Clarinet Ronald Oakland Principal Jon Manasse, Principal Timpani Michael Roth Ted Ackerman Steve Hartman David Punto, Principal Ann Kim Violin II Alvin McCall Bassoon Librarian Laura Frautschi, Principal Daniel Shelly, Principal Michael McCoy Eva Burmeister Bass Tom Sef cˇovi cˇ Katsuko Esaki Zachary Cohen, Principal Personnel Managers Amy Kauffman Lou Kosma Neil Balm Pauline Kim Judith Sugarman Jonathan Haas Katherine Livolsi- Gemini Music Landau Productions Ltd. Dorothy Strahl Mineko Yajima

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Mostly Mozart Festival

Lincoln Center Programming Department Jane Moss, Ehrenkranz Artistic Director Hanako Yamaguchi, Director, Music Programming Jon Nakagawa, Director, Contemporary Programming Jill Sternheimer, Acting Director, Public Programming Lisa Takemoto, Production Manager Charles Cermele, Producer, Contemporary Programming Kate Monaghan, Associate Director, Programming Claudia Norman, Producer, Public Programming Mauricio Lomelin, Producer, Contemporary Programming Julia Lin, Associate Producer Nicole Cotton, Production Coordinator Regina Grande, Assistant to the Artistic Director Luna Shyr, Programming Publications Editor Claire Raphaelson, House Seat Coordinator Stepan Atamian, Theatrical Productions Intern ; Annie Guo, Production Intern ; Grace Hertz, House Program Intern

Program Annotators: Don Anderson, Peter A. Hoyt, Kathryn L. Libin, Paul Schiavo, David Wright